“My going outside was after Mother changed her way of life. That happened when I was seven. She was always a very moody and frightening woman, though sometimes she'd be very affectionate toward me for a little while, and she always spoiled and pampered Anra, though from a distance, through slaves, almost as if she were afraid of him.
“Now her moods became blacker and blacker. Sometimes I'd surprise her looking in horror at nothing, or beating her forehead while her eyes were closed and her beautiful face was all taut, as if she were going mad. I had the feeling she'd been backed up to the end of some underground tunnel and must find a door leading out, or lose her mind.
“Then one afternoon I peeked into her bedroom and saw her looking into her silver mirror. For a long, long while she studied her face in it, and I watched her without making a sound. I knew that something important was happening. Finally she seemed to make some sort of difficult inward effort, and the lines of anxiety and sternness and fear disappeared from her face, leaving it smooth and beautiful as a mask. Then she unlocked a drawer I'd never seen into before and took out all sorts of little pots and vials and brushes. With these she colored and whitened her face and carefully smeared a dark, shining powder around her eyes and painted her lips reddish-orange. All this time my heart was pounding and my throat was choking up, I didn't know why. Then she laid down her brushes and dropped her chiton and felt of her throat and breasts in a thoughtful way and took up the mirror and looked at herself with a cold satisfaction. She was very beautiful, but it was a beauty that terrified me. Until now I'd always thought of her as hard and stern outside, but soft and loving within, if only you could manage to creep into that core. But now she was all turned inside out. Strangling my sobs, I ran to tell Anra and find out what it meant. But this time his cleverness failed him. He was as puzzled and disturbed as I.
“It was right afterwards that she became even stricter with me, and although she continued to spoil Anra from a distance, kept us shut up from the world more than ever. I wasn't even allowed to speak to the new slave she'd bought, an ugly, smirking, skinny-legged girl named Phryne who used to massage her and sometimes play the flute. There were all sorts of visitors coming to the house now at night, but Anra and I were always locked in our little bedroom high up by the garden. We'd hear them yelling through the wall and sometimes screaming and bumping around the inner court to the sound of Phryne's flute. Sometimes I'd lie staring at the darkness in an inexplicable sick terror all night long. I tried every way to get Old Berenice to tell me what was happening, but for once her fear of Mother's anger was too great. She'd only leer at me.
“Finally Anra worked out a plan for finding out. When he first told me about it, I refused. It terrified me. That was when I discovered the power he had over me. Up until that time the things I had done for him had been part of a game I enjoyed as much as he. I had never thought of myself as a slave obeying commands. But now when I rebelled, I found out not only that my twin had an obscure power over my limbs, so that I could hardly move them at all, or imagined I couldn't, if he were unwilling, but also that I couldn't bear the thought of him being unhappy or frustrated.
“I realize now that he had reached the first of those crises in his life when his way was blocked and he pitilessly sacrificed his dearest helper to the urgings of his insatiable curiosity.
“Night came. As soon as we were locked in I let a knotted cord out the little high window and wriggled out and climbed down. Then I climbed the olive tree to the roof. I crept over the tiles down to the square skylight of the inner court and managed to squirm over the edge — I almost fell — into a narrow, cobwebby space between the ceiling and the tiles. There was a faint murmur of talk from the dining room, but the court was empty. I lay still as a mouse and waited."
Fafhrd uttered a smothered exclamation and stopped his horse. The others did likewise. A pebble rattled down the slope, but they hardly heard it. Seeming to come from the heights above them and yet to fill the whole darkening sky was something that was not entirely a sound, something that tugged at them like the Sirens’ voices at fettered Odysseus. For a while they listened incredulously, then Fafhrd shrugged and started forward again, the others following.
Ahura continued, “For a long time nothing happened, except occasionally slaves hurried in and out with full and empty dishes, and there was some laughter, and I heard Phryne's flute. Then suddenly the laughter grew louder and changed to singing, and there was the sound of couches pushed back and the patter of footsteps, and there swept into the court a Dionysiac rout.
“Phryne, naked, piped the way. My mother followed, laughing, her arms linked with those of two dancing young men, but clutching to her bosom a large silver wine-bowl. The wine sloshed over and stained purple her white silk chiton around her breasts, but she only laughed and reeled more wildly. After those came many others, men and women, young and old, all singing and dancing. One limber young man skipped high, clapping his heels, and one fat old grinning fellow panted and had to be pulled by girls, but they kept it up three times around the court before they threw themselves down on the couches and cushions. Then while they chattered and laughed and kissed and embraced and played pranks and watched a naked girl prettier than Phryne dance, my mother offered the bowl around for them to dip their wine cups.
“I was astounded — and entranced. I had been almost dead with fear, expecting I don't know what cruelties and horrors. Instead, what I saw was wholly lovely and natural. The revelation burst on me, ‘So this is the wonderful and important thing that people do.’ My mother no longer frightened me. Though she still wore her new face, there was no longer any hardness about her, inside or out, only joy and beauty. The young men were so witty and gay I had to put my fist in my mouth to keep from screaming with laughter. Even Phryne, squatting on her heels like a skinny boy as she piped, seemed for once unmalicious and likable. I couldn't wait to tell Anra.
“There was only one disturbing note, and that was so slight I hardly noticed it. Two of the men who took the lead in the joking, a young red-haired fellow and an older chap with a face like a lean satyr, seemed to have something up their sleeves. I saw them whisper to some of the others. And once the younger grinned at Mother and shouted, ‘I know something about you from way back!’ And once the older called at her mockingly, ‘I know something about your great-grandmother, you old Persian you!’ Each time Mother laughed and waved her hand derisively, but I could see that she was bothered underneath. And each time some of the others paused momentarily, as if they had an inkling of something, but didn't want to let on. Eventually the two men drifted out, and from then on there was nothing to mar the fun.
“The dancing became wilder and staggering, the laughter louder, more wine was spilled than drank. Then Phryne threw away her flute and ran and landed in the fat man's lap with a jounce that almost knocked the wind out of him. Four or five of the others tumbled down.
“Just at that moment there came a crashing and a loud rending of wood, as if a door were being broken in. Instantly everyone was as still as death. Someone jerked around, and a lamp snuffed out, throwing half the court into shadow.
“Then loud, shaking footsteps, like two paving blocks walking, sounded through the house, coming nearer and nearer.
“Everyone was frozen, staring at the doorway. Phryne still had her arm around the fat man's neck. But it was in Mother's face that the truly unbearable terror showed. She had retreated to the remaining lamp and dropped to her knees there. The whites showed around her eyes. She began to utter short, rapid screams, like a trapped dog.